Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

OPERA TODAY ARCHIVES »

Performances

Susan Neves (in red) as the First Chorus [Photo by Ken Howard courtesy of San Diego Opera]
05 Apr 2013

Murder in the Cathedral at San Diego Opera

Italian composer Ildebrando Pizzetti (1880-1968) wrote more than fifteen operas, of which almost none are staged today.

Murder in the Cathedral at San Diego Opera

A review by Maria Nockin

Above: Susan Neves (in red) as the First Chorus

Photos by Ken Howard courtesy of San Diego Opera

 

A member of the same generation as Ottorino Respighi and Gian Francesco Malipiero, he started out to be a playwright and had two works staged before he entered the conservatory of his native Parma to study music. Some years later, Pizzetti was a conservatory teacher and administrator, first in Florence and then in Milan. In 1936 he succeeded Respighi at the Academy of St. Cecilia in Rome where his students included Mario Castelnuovo-Tedesco. Pizzetti was influenced by poet and playwright Gabriele d'Annunzio and he wrote incidental music for several of the latter’s plays. In 1939 Pizzetti was named to the Italian Royal Academy. Although his relations with the fascist government of Italy were occasionally stormy, they were often positive, and that may be one reason why his works have seldom been produced since then.

He composed his first opera, Sabina, in 1897. Between then and the premiere of Murder in the Cathedral (Assassinio nella Cattedrale) on March 1, 1958, he completed eleven others. Murder in the Cathedral is two-act opera with a libretto by the composer based on Alberto Castelli’s Italian translation of T.S. Eliot's play of the same name. It deals with the killing of Archbishop of Canterbury Thomas Becket by followers of King Henry II in the twelfth century. Henry is supposed to have asked if no one would rid him of the troublesome priest. That may have been all that was necessary for his followers to assume they had reason to murder Becket.

On April 2, 2013, San Diego Opera staged Pizzetti’s Murder in the Cathedral with leading Italian bass Ferruccio Furlanetto in the title role. General and Artistic Director Ian D. Campbell staged the work in a straightforward manner that made the story easy to grasp. Ralph Funicello’s unit set, consisting of bright colored stained glass windows with steps and platforms, looked like the inside of a great cathedral. Lighting was a large part of the décor and Alan Burrett’s designs were most effective. Costume designer Denitza Bliznakova dressed the Archbishop in the timeless robes of the Catholic Church, the First and Second Chorus soloists in crimson, and the remaining choristers in the muted colors of twelfth century England.

MIC_0026a.pngSusan Neves (in red) as the First Chorus

The story of this opera, the conflict between Church and state, seems to have gone on forever. I was reminded of the murder of Martin Luther King so many centuries later. Like Becket, King knew that it could happen. Italian bass Ferruccio Furlanetto excels in the interpretation of roles on both sides of this conflict: Philip II in Don Carlo and Becket. Murder in the Cathedral is a thinking person’s opera. Furlanetto is in the prime of his career and his opulent voice flowed over the orchestra and into the auditorium like a magnificent force of nature. This is an opera he was born to sing. He is also a fine actor and when he was on stage you could not take your eyes off him.

Susan Neves and Helene Schneiderman sang the First and Second Chorus who commented on action. Since there was no love interest, their parts were much smaller than that of the Archbishop, but both sang with ringing tones. The other star of this performance was the San Diego Opera Chorus led by Charles F. Prestinari. Their harmonies were strong and they coalesced as a group. They really did not get to act as individuals because they were a unified congregation. For the finale they were joined by the excellent Children’s Chorus fro St. Paul’s Cathedral.

MIC_0739a.pngHelene Schneiderman as the Second Chorus with Susan Neves as the First Chorus in the background

Alan Glassman was the trumpet voiced Herald who announced each arrival. His presence in the part was true luxury casting. The other roles were actually parts of trios or quartets. The three priests who sang with dramatics tones as they tried to protect their Archbishop were tenor Greg Fedderly, bass-baritone Kristopher Irmiter, and bass Gregory Reinhart. The four tempters were also the four knights who eventually killed Becket. Tenor Joel Sorenson had a high lying difficult part but acquitted it with finesse. Baritone Malcolm MacKenzie, the smooth voiced Count Di Luna of the AZ Opera Il Trovatore, was a dramatic Second Knight, while bass-baritone Ashraf Sewailam and bass Kevin Langan, the sonorous Third and Fourth Knights, were properly villainous thugs.

Conductor Donato Renetti made a very auspicious San Diego Opera debut with this performance. The large orchestra responded with precise playing of this new and interestingly orchestrated score. I hope we will hear a great deal more from Renzetti.

Special kudos go to English Hornist Andrea Overturf for his beautiful phrasing. This was a spectacular evening at San Diego Opera and I hope this fine opera will be heard more often from now on.

Maria Nockin


Click here for cast and production information.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):